Simon RushworthCaitlyn Smith — High & Low (Monument Records)
The highs and lows of life as an emotionally charged, singer songwriter are well documented.
And Nashville’s finest have long since cornered the market when it comes to narrating the ups and downs of day-to-day life as a gigging musician.
But few have done so quite as adeptly as Caitlyn Smith.
Recognising the stark contrast between perceived success and the harsh — and often carefully disguised — reality of failure, the Minnesota native released High 12 months ago.
The first half of Smith’s latest project primarily focused on the positives and garnered critical acclaim and fan praise in equal measure.
Fast forward to April 2023 and Low’s six additional tracks trade in more sobering fare.
They complete an album rich in country music’s traditional textures but fresh enough to throw the genre forward.
Smith’s affecting vocals elevate a series of perfectly crafted pieces of work that lay bare the vulnerabilities at the heart of High & Low’s more memorable moments.
And a songwriter who’s served up tunes for Miley Cyrus, Dolly Parton, Meghan Trainor and more clearly deserves her own platform in Music City.
On 2018’s Starfire and follow-up Supernova, Smith’s potential was clear.
But both of those testing-the-water records suddenly sound strangely tentative given the confidence and composure running through High & Low.
Smith was once touted by Rolling Stone as one of the publication’s ’10 country artists to know’.
And if you don’t know her now then get with the programme.
High & Low is a triumph of light and shade, joyous celebration and deep reflection — its 14 songs are wrapped up in the hopes and fears of an artist poised to soar.
Say hi to High & Low
When Smith reveals ‘We ain’t rich but the dreamin’s free’ the sense of optimism is clear.
Juxtaposed with new tune Lately, its effect is all the more powerful.
And that’s where the neat idea behind High & Low really works.
High’s eight songs have become familiar, heartwarming Smith staples during the last 12 months.
But interspersed with Low’s six newcomers, those established works take on a new meaning and an added gravitas.
Bookending the haunting Maybe In Another Life, Alaska and beautiful ballad I Think Of You never sounded better.
Then there’s the decision to follow the carefree pop of Downtown Baby with the introspective and bluesy Writing Songs And Raising Babies.
It’s impossible not to dwell on the contrasting themes underpinning two of High & Low’s obvious highlights.
In isolation they’re impressive. Enjoyed as a pair, two of the most impactful songs here confirm Smith’s special talent as a deeply affecting storyteller.
It’s the track listing — as much as the tunes — that makes this remarkable record so appealing.
Smith hasn’t thrown these songs together in the hope that they’ll land in some sort of acceptable order.
High & Low has been curated with care, clarity and genuine confidence.
Perhaps even down to puissant set closer The Great Pretender.
Smith is anything but: High & Low provides a welcome dose of reassuring reality.
